document_title: Miss Peregrine's Home for Peculiar Children (film)

question_text: who did rupert everett play in miss peregrine

text: Plot[edit]

text: For years, Abraham Portman has told stories to his grandson Jacob about his childhood surviving in World War II, battling monsters and living at a secret home for children in Cairnholm, Wales. According to Abe, the home's children and their headmistress Miss Alma Peregrine possess paranormal abilities and are known as "peculiars". When Jacob turns sixteen, Jake responds to a panicked phone call from Abe, and goes to his house to find him dying with his eyes removed. Abe tells him to go to "the loop of September 3, 1943". After Abe dies, Jake glimpses a monster exactly like the ones described in Abe's stories hiding in the forest.

text: Jake's parents sign him up for psychiatrist check-ups, and following advice from his psychiatrist, Dr. Golan, and the lead of a letter from Miss Peregrine to Abe, Jake travels to Cairnholm with his father to investigate the children's home, whereupon he learns that it was destroyed during a Luftwaffe raid. However upon visiting the ruined house, he finds the children there alive and well. They take him through a portal in a cave and he emerges in the year 1943 when the house was still intact. Miss Peregrine greets him and explains that she belongs to a class of female peculiars called "ymbrynes" who can shapeshift into birds (in Miss Peregrine's case, a peregrine falcon) and manipulate time. To avoid persecution, she and the children hide from the outside world in a time loop she created, accessible only to peculiars and set to September 3, 1943. This time loop allows them to live the same day repeatedly and avoid aging as long as they stay inside of it.

text: Jake is introduced to the rest of the children, including aerokinetic Emma Bloom, to whom he is attracted. Jake learns that he himself is a peculiar and, like Abe, has the ability to see the invisible monsters from Abe's stories, "hollowgast" (or "hollows"). Hollows are invisible disfigured peculiar scientists that resulted from killing an Ymbryne in a failed experiment to become immortal by harvesting her powers. Led by shapeshifter Mr. Barron, they hunt Peculiars to consume their eyeballs, which allows them to become "wights", hollows with regained visible human forms, but with milky-white eyes.

text: A wounded ymbryne named Miss Avocet arrives and explains that Barron raided her January 2016 time loop at Blackpool, England, killed her children, and is trying to repeat his failed experiment by using more ymbrynes. Jake realized earlier that a hollow could be in the island after he sees eyeless sheep corpses in the present. Worried, Miss Peregrine decides to move out with her children and Miss Avocet. Jake returns to 2016 and realizes the hollow is even closer after another victim was killed, so he goes back to the cave to warn his friends. However, he is followed by another visitor on the island, an ornithologist who reveals himself to be a disguise for Mr. Barron.

text: Barron reveals that he was about to gain Miss Peregrine's loop from Abe, but his hungry hollow companion Mr. Malthus killed him before he could. Barron then posed as Dr. Golan and encouraged Jake to go to the island so he could find the loop. Using Jake as a hostage at the children's home, Barron forces Miss Peregrine to trap herself in bird form and takes her to Blackpool, leaving Jake, the other children, and Miss Avocet as prey for Malthus. Malthus arrives and kills Miss Avocet, but Jake and the children escape just as the Luftwaffe bomb is about to destroy the house. Without Miss Peregrine to reset it, the house is destroyed and the loop closes, leaving Jake and the children stuck in 1943, but safe from Malthus, who is killed in the explosion. Rescuing a sunken ocean liner, they travel to Blackpool and enter its January 2016 loop, fight Barron's wight and hollow allies, and rescue Miss Peregrine and other captive Ymbrynes. Barron disguises himself as Jake, hoping to confuse the children who have come to finish him off. When the last remaining hollow arrives it mistakes Barron for Jake and kills him, and is in turn killed by Jake.

text: Before the time loop closes, Emma tells Jake that because of Miss Peregrine's injury in the battle, the children will live in 1943 and that they will handle the hollows. Jake says goodbye to them as they exit and return to their ship in 1943, while he stays in his year of 2016. He travels back to Florida and relates his adventures to his grandfather, who is alive and well, as Malthus' death in the beginning of 2016 erased his presence in Florida later on. Abe gives Jake a map of international time loops and money from different countries and urges him to seek out Emma.

text: After months of searching and traveling, Jake reaches Emma and the other children in 1943. Emma and Jake confess their feelings, and start traveling along with Miss Peregrine and the other children, searching a new home.

text: Cast[edit]

text: The Peculiars[edit]

text: The Peculiar Adults[edit]

text:
Eva Green as Miss Alma LeFay Peregrine, the headmistress of Miss Peregrine's Home for Peculiar Children who can transform into a peregrine falcon and manipulate time.[6]
Terence Stamp as Abraham "Abe" Portman, Jake's grandfather who can see the invisible hollows.

Callum Wilson as a young Abe.[7][8]

Judi Dench as Miss Esmeralda Avocet, the headmistress of another shelter for Peculiar Children. Like Miss Peregrine, Miss Avocet can manipulate time and can transform into an avocet.

text: The Peculiar Children[edit]

text:
Asa Butterfield as Jacob "Jake" Portman, a 16-year-old American teenager and Abe's grandson. He visits Miss Peregrine's Home for Peculiar Children and is given by Miss Peregrine the task/promise of protecting the children. Like his grandfather, Jake has the ability to see the invisible hollows.

Butterfield also portrays Mr. Barron's disguise as Jake.[9]
Aiden Flowers as a 10-year-old Jake.
Nicholas Oteri as a 6-year-old Jake.

Ella Purnell as Emma Bloom, an aerokinetic teenager who can manipulate air and can breathe to create liquid bubbles under water. She is lighter than air and must always wear lead shoes or a tether to keep from floating away. Emma is also Abe's former love interest in the 1940s and Jake's current love interest.
Finlay MacMillan as Enoch O'Connor, a teenager and Olive's love interest who can reanimate the dead and bring to life inanimate objects as his living puppets for a limited time by placing a heart inside.
Lauren McCrostie as Olive Abroholos Elephanta, a pyrokinetic red-haired teenager and Enoch's love interest. She has to wear special black gloves in order to prevent burning everything she touches.
Cameron King as the voice and motion-capture of Millard Nullings, an invisible boy.[10]
Pixie Davies as Bronwyn Bruntley, a super-strong young girl.[10]
Georgia Pemberton as Fiona Frauenfeld, a young girl who can control and maintain plants including the vegetables in Miss Peregrine's garden.[10]
Milo Parker as Hugh Apiston, a boy with bees living in his stomach.[10]
Raffiella Chapman as Claire Densmore, a young girl with and additional mouth hidden in the back of her head.[10]
Hayden Keeler-Stone as Horace Somnusson, boy who can project his dreams (which are sometimes prophetic) through a monocle.[10]
Joseph and Thomas Odwell as the Twins, two masked gorgon-like twin boys who turn anyone who sees them into stone. They normally wear hoods to hide their faces.
Louis Davison as Victor Bruntley, Bronwyn's late brother who had the same ability as her. He was killed by a hollow infiltrator prior to the events in the film, and was briefly brought back to life by Enoch.[10]

text: The Wights and Hollows[edit]

text:
Samuel L. Jackson as Mr. Barron, the shapeshifting leader of the wights and hollows who is exclusive to the film. Barron and his wight and hollow minions hunt peculiars and devour their eyes upon capture to recover human form.[9] His shapeshifting peculiarity allows him to disguise himself as another person. When he uses his peculiarity to become a person who doesn’t exist, his white eyes don't change, so he has to wear contact lenses. He can also form blades, axes and/or lassos with his own hands.

Allison Janney as Dr. Nancy Golan, Jake's psychiatrist and one of Mr. Barron's disguised forms.[7]
Rupert Everett as John Lamont (credited as "Ornithologist"), an ornithologist and another of Mr. Barron's disguised forms.[7]

Scott Handy as Mr. Gleeson, a cryokinetic wight.
Helen Day as Miss Edwards, a half-simian wight with a great agility, dexterity and mobility.[11]
Jack Brady as Mr. Clark, a wight.
Philip Philmar as Mr. Archer, a wight.
Robert Milton Wallace as Mr. Malthus, a hollow.

text: The Non-Peculiars[edit]

text:
Chris O'Dowd as Franklin "Frank" Portman, Jake's father and Abe's son.
Kim Dickens as Maryann Portman (credited as "Jake's Mom"), Jake's mother[7] and an up-and-coming businesswoman.
O-Lan Jones as Shelly, Jake's drugstore supervisor and co-worker.
Jennifer Jarackas as Susie Portman, Frank's sister and Jake's aunt. She passes Jake her late father's gift which gives him the way to find Miss Peregrine's time loop.
George Vricos as Bobby, Judy's husband and Jake's uncle.
Brooke Jaye Taylor as Judy, Bobby's wife and Jake's other aunt.
Ioan Hefin as Kev, the bartender on Cairnholm in the present day.
Nicholas Amer as Oggie, a blind and elderly present-day resident of Cairnholm.
Shaun Thomas and Justin Davies as Dylan and Worm, two present-day teenage Welsh residents whom Jake meets in Cairnholm.

text: Director Tim Burton makes a cameo appearance in the film as a visitor at the fun fair in Blackpool who gets a skeleton thrown at him by a Hollow. Glen Mexted, who previously worked with Burton as an extra in both Dark Shadows and the music video for The Killers' "Here with Me", also appears in the same scene as a customer eating ice cream.

text: Production[edit]

text: The film rights to the 2011 novel Miss Peregrine's Home for Peculiar Children by Ransom Riggs were sold to 20th Century Fox on May of that year. [12] In November, Deadline.com reported that Tim Burton was in talks to direct and would also be involved in selecting a writer[13] On December 2, Jane Goldman was reportedly hired to adapt the story as a screenplay for the film.[14]

text: On July 28, 2014, Eva Green was set to play Miss Peregrine in the film; Mischa Barton, Lucy Hale and Alison Sudol were also considered.[6] On September 24, 2014, it was announced that Asa Butterfield was being eyed for the second lead role as Burton's choice, but that at that time he had not yet been offered the role.[15] On November 5, 2014, Ella Purnell was offered a role and was in final talks to join the film; it was also reported that Butterfield had been offered the male lead role, and was the favored choice.[16] On February 6, 2015, Samuel L. Jackson was added to the cast to play Mr. Barron, while Butterfield was confirmed for the second lead role.[9] Terence Stamp, Chris O'Dowd, Rupert Everett, Kim Dickens, and Judi Dench were announced as being in the cast on March 12, 2015.[7]

text: Filming was initially set to begin in August 2014 in London.[17]Principal photography on the film began on February 24, 2015 in the Tampa Bay Area.[18] Filming lasted for two weeks in Hillsborough and Pinellas counties, in the Florida area.[18] It is the second Tim Burton film to be shot in the Tampa Bay area, the first being Edward Scissorhands, in 1989.[18] Production of the film later moved to Caerhays Castle and Minions in Cornwall, and Blackpool in the United Kingdom, and Brasschaat, a municipality close to Antwerp, Belgium.[7][19][20]

text: Music[edit]

text: The film's score was composed by Mike Higham and Matthew Margeson. The soundtrack was released on October 11, 2016 by La-La Land Records. Florence and the Machine recorded the film's end credits song, "Wish That You Were Here".

text: Release[edit]

text: Miss Peregrine's Home for Peculiar Children was originally set for a release date of July 31, 2015.[21] The release date moved to March 4, 2016, then again to December 25, 2016,[5] before finally moving to September 30, 2016.

text: Box office[edit]

text: Miss Peregrine's Home for Peculiar Children grossed $87.2 million in the United States and Canada and $207.9 million in other territories for a worldwide total of $295.1 million, against a production budget of $110 million.[3]

text: In the United States and Canada, the film opened alongside Deepwater Horizon and was projected to gross around $25 million from 3,522 theaters in its opening weekend.[4][22] In total, the film earned $28.9 million during its opening weekend, finishing first at the box office.[23] The opening was on par with Dark Shadows' $29.7 million in 2012, Burton's last big budgeted film.[23] Variety called it "a mediocre start" given the film's $110 million budget.[24]

text: It had number one openings in Russia ($6.3 million), France ($5.3 million), Mexico (3.8 million), Australia ($3.1 million), Brazil ($2.7 million) and the Philippines ($1.7 million) and the biggest opening for Burton in Malaysia and Indonesia.[25][26] In South Korea, it debuted at number two with $5.2 million. The film was released in China and Italy in December 2016 and Japan in February 2017.[27]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 64% based on 209 reviews, with an average rating of 5.9/10. The site's critical consensus reads, "Miss Peregrine's Home for Peculiar Children proves a suitable match for Tim Burton's distinctive style, even if it's on stronger footing as a visual experience than a narrative one."[28] On Metacritic, the film has a score of 57 out of 100 based on 43 critics, indicating "mixed or average reviews".[29] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[30]

text: IGN critic Samatha Ladwig gave the film a 7.2/10, summarizing her review with: "Though there are lingering questions about certain characters by the time the end credits roll, the film's striking visuals help compensate for its unemotional and anti-climactic script."[31] Justin Chang of Los Angeles Times wrote "Easily the director's finest work since his masterful 2007 screen adaptation of Sweeney Todd, and a striking reminder of what an unfettered gothic imagination can achieve with the right focus and an infusion of discipline."[32] USA Today's Brian Truitt gave the film 3½ out of 4 and wrote, "After a long run of dystopian YA movies for teen crowds, Burton is just the right guy to make cinema weird again."[33] Calvin Wilson of St. Louis Post-Dispatch gave the film 3½ out of 4 and stated, "Burton delivers his most ambitious and engaging film since Sweeney Todd (2007). Although the story becomes increasingly complex as it goes along, the emotional payoff is more than worth it."[34]

text: Michael O'Sullivan of The Washington Post gave the film 3 out of 4 and wrote "The very idea of this - at once gruesome and darkly funny — is perfectly suited to Burton's sensibility, which also reveals itself in the casting of Butterfield, who has the quality of a young, slightly less freaky Johnny Depp."[35] The Guardian's Jordan Hoffman gave the film 4 out of 5 and said, "We get the playfulness of seeing quirky magic powers mixed with the familiarity of how a time loop plays out. Add in Burton's authorial visual stamp and what we've got is an extremely pleasing formula. It gels as Tim Burton's best (non-musical) live-action movie for 20 years."[36] James Berardinelli from ReelViews gave the film 3 out of 4 and stated, "Overall, despite feeling a little long and suffering from a rushed ending, Miss Peregrine's Home for Peculiar Children is a fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic."[37] The New York Times' Manohla Dargis gave a positive review, writing: "The story gets awfully busy — you may get lost in 1943 or perhaps closer to the present — but it scarcely matters. Mr. Burton's attention to detail and to the ebb and flow of tone (scary, funny, eerie), as well as his sensitive, gentle work particularly with the child actors, make each new turn another occasion for unfettered imagination."[38] Devan Coggan from Entertainment Weekly gave the film "B-" (67/100), with describing the film "The film chooses style over substance, emphasizing how cool the children's powers are without fleshing them out as full characters. To compete with Burton's best, his heroic weirdos need a little more heart — and the monsters need sharper teeth."[39]

text: On the other hand, Kyle Smith of the New York Post, Richard Roeper of the Chicago Sun-Times and Tom Huddleston of Time Out decried the film. According to Smith, who gave the film 2 stars out of 4: "It may be senseless, but it's sumptuous: the picture looks like it cost about a billion bucks, with absolutely every detail giving Burton an excuse to take his mad picture-book mind and let loose, the way Emma the girl full of air keeps soaring away from earthly constraints. Burton may give us a bland hero, a tepid love story and a muddled plot but, hey, at least he's got a skeleton army doing battle with giant tentacle monsters at an amusement park."[40] Roeper, who scored the film 1½ stars out of 4, began his review by writing: "I'm wondering if the mutant kids at Miss Peregrine's Home for Peculiar Children ever play basketball against their rivals across the pond, Xavier's School for Gifted Youngsters. I'd watch that. I'd certainly rather watch that than Tim Burton's adaptation of the popular children's book about a school for freakishly gifted children. This is a messy, confusing, uninvolving mishmash of old-school practical effects and CGI battles that feels ... off nearly every misstep of the way.[41] Tom Huddleston of Time Out gave the film 2 stars out of 5, writing: "Director Tim Burton likes his films busy: watch a classic like Beetlejuice or Batman, and you'll be pushed to find a single frame that isn't packed with background detail, weird creatures, ornate furnishings and intricate costumes. The problem with his new film, Miss Peregrine's Home for Peculiar Children, is that the script is every bit as busy and it can get pretty confusing."[42]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Costume Designers Guild
February 21, 2017
Excellence in Fantasy Film
Colleen Atwood
Nominated
[43]

Globes de Cristal Awards
January 30, 2017
Best Foreign Film
Tim Burton
Nominated
[44]

Hollywood Music in Media Awards
November 17, 2016
Best Original Song – Sci-Fi/Fantasy Film
"Wish That You Were Here" – Florence and the Machine
Nominated
[45]
[46]

People's Choice Awards
January 18, 2017
Favorite Dramatic Movie
Miss Peregrine's Home for Peculiar Children
Nominated
[47]

Saturn Awards
June 28, 2017
Best Fantasy Film
Miss Peregrine's Home for Peculiar Children
Nominated
[48]

Teen Choice Awards
August 13, 2017
Choice Fantasy Movie
Miss Peregrine's Home for Peculiar Children
Nominated
[49]

Choice Fantasy Movie Actor
Asa Butterfield
Nominated

Choice Fantasy Movie Actress
Eva Green
Nominated

Visual Effects Society Awards
February 7, 2017
Outstanding Visual Effects in a Photoreal Feature
Jelmer Boskma, Frazer Churchill, Hal Couzens, Andrew Lockley and Hayley Williams
Nominated
[50]

Women Film Critics Circle
December 19, 2016
Best Family Film
Miss Peregrine's Home for Peculiar Children
Nominated
[51]


document_title: Sense and Sensibility (film)

question_text: who played miss steele in sense and sensibility

root

text: Sense and Sensibility (film)

text: Plot[edit]

text: On his deathbed, Mr. Dashwood tells his son from his first marriage, John, to take care of his second wife and three daughters, Elinor, Marianne, and Margaret, since they will inherit nothing. John's greedy and snobbish wife Fanny convinces him to give his half sisters practically nothing financially; John and Fanny immediately install themselves in the large house, forcing the Dashwood ladies to look for a new home. Fanny invites her brother Edward Ferrars to stay with them. Elinor and Edward soon form a close friendship, but Fanny haughtily tells Mrs. Dashwood that Edward would be disinherited if he married someone of no importance with no money. Mrs. Dashwood understands her meaning completely.

tag: p

text: Sir John Middleton, a cousin of the widowed Mrs. Dashwood, offers her a small cottage house on his estate, Barton Park in Devonshire. She and her daughters move in, and are frequent guests at Barton Park. The Dashwoods meet the older Colonel Brandon, who falls in love with Marianne at first sight. However, Marianne considers him an old bachelor, incapable of feeling love or inspiring it in another.

text: One afternoon, Marianne takes a walk with Margaret and slips and falls in the rain. She is carried home by the dashing John Willoughby, with whom Marianne falls in love. They spend a great deal of time together, but on the morning she expects him to propose marriage to her, he instead leaves hurriedly for London.

text: Sir John's mother-in-law, Mrs. Jennings, invites her daughter and son-in-law, Mr. and Mrs. Palmer, to visit. They bring with them the impoverished Lucy Steele. Lucy confides in Elinor that she and Edward have been engaged secretly for five years, dashing Elinor's hopes of a future with him. Mrs. Jennings takes Lucy, Elinor, and Marianne to London, where they meet Willoughby at a ball. He greets Marianne uncomfortably and barely acknowledges their acquaintance, and they soon learn he is engaged to the extremely wealthy Miss Grey. Marianne becomes inconsolable. Colonel Brandon later explains to Elinor that Willoughby seduced and abandoned his ward Beth, the illegitimate daughter of his former love, Eliza. When Willoughby's aunt and benefactress Lady Allen learned of his behavior, she disinherited him and so he chose to marry for money.

text: Lucy is invited to stay with John and Fanny, as a way for Fanny to avoid inviting the Dashwood sisters to visit them. Lucy, falsely believing that she has a friend in Fanny, confides her clandestine engagement to Edward and is thrown out of the house. Edward's mother demands that he break off the engagement. When he refuses, she arranges to have his fortune transferred to his younger brother, Robert. On hearing this, Colonel Brandon offers Edward the parish on his estate, feeling sympathy for the unfortunate but honorable Edward.

text: On their way home to Devonshire, Elinor and Marianne stop for the night at the country estate of the Palmers, who live five and a half miles away from Willoughby's estate. Marianne cannot resist going to see the estate; she becomes gravely ill trekking up a hill in a torrential rain. Colonel Brandon finds her in the rain and brings her home. Elinor stays at her side until she recovers, and the sisters return home. Colonel Brandon and Marianne begin spending time together, as Marianne has a new appreciation for him. She admits to Elinor that even if Willoughby had chosen her, she was no longer convinced that love would have been enough to make him happy.

text: The Dashwoods soon learn that Miss Steele has become Mrs. Ferrars and assume that she is married to Edward. Later when Edward visits their house, they learn that Miss Steele unexpectedly jilted him in favor of his brother Robert, and Edward is thus released from his engagement. Edward proposes to and marries Elinor. Edward becomes a vicar, under the patronage of Colonel Brandon, whom Marianne marries. Willoughby is seen watching their wedding from a distance, and then rides away.

text: Production[edit]

text: Conception and adaptation[edit]

text: In 1989, Lindsay Doran, the new president of production company Mirage Enterprises, was on a company retreat brainstorming potential film ideas when she suggested the Jane Austen novel Sense and Sensibility to her colleagues.[5] It had been adapted three times, most recently in a 1981 television serial.[6] Doran was a longtime fan of the novel,[7] and had vowed in her youth to adapt it if she ever entered the film industry.[8][9] She chose to adapt this particular Austen work because there were two female leads.[10] Doran stated that "all of [Austen's] books are funny and emotional, but Sense and Sensibility is the best movie story because it's full of twists and turns. Just when you think you know what's going on, everything is different. It's got real suspense, but it's not a thriller. Irresistible."[5] She also praised the novel for possessing "wonderful characters ... three strong love stories, surprising plot twists, good jokes, relevant themes, and a heart-stopping ending."[9]

text: Prior to being hired at Mirage, the producer had spent years looking for a suitable screenwriter[8] – someone who was "equally strong in the areas of satire and romance" and could think in Austen's language "almost as naturally as he or she could think in the language of the twentieth century."[9] Doran read screenplays by English and American writers[11] until she came across a series of comedic skits, often in period settings, that actress Emma Thompson had written.[12][13] Doran believed the humour and style of writing was "exactly what [she'd] been searching for."[14] Thompson and Doran were already working together on Mirage's 1991 film Dead Again. A week after its completion, the producer selected Thompson to adapt Sense and Sensibility,[5] although she knew that Thompson had never written a screenplay.[14] Also a fan of Austen, Thompson first suggested they adapt Persuasion or Emma before agreeing to Doran's proposal.[15][16] The actress found that Sense and Sensibility contained more action than she had remembered, and decided it would translate well to drama.[17]

text: Thompson spent five years writing and revising the screenplay, both during and between shooting other films.[8][18][19] Believing the novel's language to be "far more arcane than in [Austen's] later books," Thompson sought to simplify the dialogue while retaining the "elegance and wit of the original."[20] She observed that in a screenwriting process, a first draft often had "a lot of good stuff in it" but needed to be edited, and second drafts would "almost certainly be rubbish ... because you get into a panic."[21] Thompson credits Doran for "help[ing] me, nourish[ing] me and mentor[ing] me through that process ... I learned about screenwriting at her feet."[22]

text: Thompson's first draft was more than three hundred handwritten pages, which required her to reduce it to a more manageable length.[23][24] She found the romances to be the most difficult to "juggle",[24] and her draft received some criticism for the way it presented Willoughby and Edward. Doran later recalled the work was criticized for not getting underway until Willoughby's arrival, with Edward sidelined as backstory. Thompson and Doran quickly realised that "if we didn't meet Edward and do the work and take that twenty minutes to set up those people ... then it wasn't going to work."[25] At the same time, Thompson wished to avoid depicting "a couple of women waiting around for men";[26] gradually her screenplay focused as much on the Dashwood sisters' relationship with each other as it did with their romantic interests.[27]

text: With the draft screenplay, Doran pitched the idea to various studios in order to finance the film, but found that many were wary of the beginner Thompson as the screenwriter. She was considered a risk, as her experience was as an actress who had never written a film script. Columbia Pictures executive Amy Pascal supported Thompson's work, and agreed to sign as the producer and distributor.[5][16]

text: As Thompson mentioned on the BBC program QI in 2009, at one point in the writing process a laptop failure almost lost the entire work. In panic Thompson called fellow actor and close friend Stephen Fry, the host of QI and a self-professed "geek". After seven hours, Fry was able to recover the documents from the device.[28]

text: Lee's hire[edit]

text: Taiwanese director Ang Lee was hired as a result of his work in the 1993 family comedy film The Wedding Banquet, which he co-wrote, produced, and directed. He was not familiar with Jane Austen.[29] Doran felt that Lee's films, which depicted complex family relationships amidst a social comedy context, were a good fit with Austen's storylines.[27] She recalled, "The idea of a foreign director was intellectually appealing even though it was very scary to have someone who didn't have English as his first language."[12] The producer sent Lee a copy of Thompson's script, to which he replied that he was "cautiously interested".[30] Fifteen directors were interviewed, but according to Doran, Lee was one of the few who recognised Austen's humour; he told them he wanted the film to "break people's hearts so badly that they'll still be recovering from it two months later."[30]

text:
"In some ways I probably know that nineteenth century world better than English people today, because I grew up with one foot still in that feudal society. Of course, the dry sense of humour, the sense of decorum, the social code is different. But the essence of social repression against free will – I grew up with that."

— Ang Lee[30]

tag: div

text: From the beginning, Doran wanted Sense and Sensibility to appeal to both a core audience of Austen aficionados as well as younger viewers attracted to romantic comedy films.[31] She felt that Lee's involvement prevented the film from becoming "just some little English movie" that appealed only to local audiences instead of to the wider world.[32] Lee said,

text: "I thought they were crazy: I was brought up in Taiwan, what do I know about 19th-century England? About halfway through the script it started to make sense why they chose me. In my films I've been trying to mix social satire and family drama. I realised that all along I had been trying to do Jane Austen without knowing it. Jane Austen was my destiny. I just had to overcome the cultural barrier."[12]

text: Because Thompson and Doran had worked on the screenplay for so long, Lee described himself at the time as a "director for hire", as he was unsure of his role and position.[33] He spent six months in England "learn[ing] how to make this movie, how to do a period film, culturally ... and how to adapt to the major league film industry."[33]

text: In January 1995, Thompson presented a draft to Lee, Doran, co-producer Laurie Borg, and others working on the production, and spent the next two months editing the screenplay based upon their feedback.[34] Thompson would continue making revisions throughout production of the film, including altering scenes to meet budgetary concerns, adding dialogue changes, and changing certain aspects to better fit the actors.[8] Brandon's confession scene, for instance, initially included flashbacks and stylised imagery before Thompson decided it was "emotionally more interesting to let Brandon tell the story himself and find it difficult."[35]

text: Casting[edit]

text: Thompson initially hoped that Doran would cast sisters Natasha and Joely Richardson as Elinor and Marianne Dashwood. Lee and Columbia wanted Thompson herself, now a "big-deal movie star" after her critically successful role in the 1992 film Howards End, to play Elinor.[16][24] The actress replied that at the age of thirty-five, she was too old for the nineteen-year-old character. Lee suggested Elinor's age be changed to twenty-seven, which would also have made the difficult reality of spinsterhood easier for modern audiences to understand.[27][36] Thompson agreed, later stating that she was "desperate to get into a corset and act it and stop thinking about it as a script."[24]

text: The formal casting process began in February 1995,[37] though some of the actors met with Thompson the previous year to help her conceptualise the script.[38] Lee eventually cast all but one of them: Hugh Grant (as Edward Ferrars), Robert Hardy (as Sir John Middleton), Harriet Walter (as Fanny Ferrars Dashwood), Imelda Staunton (as Charlotte Jennings Palmer), and Hugh Laurie (as Mr. Palmer).[37] Amanda Root had also worked with Thompson on the screenplay, but had already committed to star in the 1995 film Persuasion.[24] Commenting on the casting of Laurie, whom she had known for years,[39] Thompson has said, "There is no one [else] on the planet who could capture Mr. Palmer's disenchantment and redemption so perfectly, and make it funny."[40]

text: Thompson wrote the part of Edward Ferrars with Grant in mind,[41] and he agreed to receive a lower salary in line with the film's budget.[27] Grant called her screenplay "genius", explaining "I've always been a philistine about Jane Austen herself, and I think Emma's script is miles better than the book and much more amusing."[42] Grant's casting was criticised by the Jane Austen Society of North America (JASNA), whose representatives said that he was too handsome for the part.[12] Actress Kate Winslet initially intended to audition for the role of Marianne but Lee disliked her work in the 1994 drama film Heavenly Creatures; she auditioned for the lesser part of Lucy Steele. Winslet pretended she had heard that the audition was still for Marianne, and won the part based on a single reading.[27] Thompson later said that Winslet, only nineteen years old, approached the part "energised and open, realistic, intelligent, and tremendous fun."[43] The role helped Winslet become recognised as a significant actress.[27]

text: Also appearing in the film was Alan Rickman, who portrayed Colonel Brandon. Thompson was pleased that Rickman could express the "extraordinary sweetness [of] his nature," as he had played "Machiavellian types so effectively" in other films.[44] Greg Wise was cast as Marianne's other romantic interest, John Willoughby, his most noted role thus far.[45][46] Twelve-year-old Emilie François, appearing as Margaret Dashwood, was one of the last people cast in the production; she had no professional acting experience.[47] Thompson praised the young actress in her production diaries, "Emilie has a natural quick intelligence that informs every movement – she creates spontaneity in all of us just by being there."[48] Other cast members included Gemma Jones as Mrs. Dashwood, James Fleet as John Dashwood, Elizabeth Spriggs as Mrs. Jennings, Imogen Stubbs as Lucy Steele, Richard Lumsden as Robert Ferrars, Tom Wilkinson as Mr. Dashwood, and Lone Vidahl as Miss Grey.[49]

text: Costume design[edit]

text: According to Austen scholar Linda Troost, the costumes used in Sense and Sensibility helped emphasise the class and status of the various characters, particularly among the Dashwoods.[50] They were created by Jenny Beavan and John Bright, a team of designers best known for Merchant Ivory films who began working together in 1984.[51][52] The two attempted to create accurate period dress,[50] and featured the "fuller, classical look and colours of the late 18th century."[53] They found inspiration in the works of the English artists Thomas Rowlandson, John Hopper, and George Romney, and also reviewed fashion plates stored in the Victoria and Albert Museum.[54] The main costumes and hats were manufactured at Cosprop, a London-based costumer company.[54]

text: To achieve the tightly wound curls fashionably inspired by Greek art, some of the actresses wore wigs while others employed heated hair twists and slept in pin curls. Fanny, the snobbiest of the characters, possesses the tightest of curls but has less of a Greek silhouette, a reflection of her wealth and silliness.[54] Beavan stated that Fanny and Mrs. Jennings "couldn't quite give up the frills," and instead draped themselves in lace, fur, feathers, jewellery, and rich fabrics.[54] Conversely, sensible Elinor opts for simpler accessories, such as a long gold chain and a straw hat.[54] Fanny's shallow personality is also reflected in "flashy, colourful" dresses,[50] while Edward's buttoned-up appearance represents his "repressed" personality, with little visible skin.[55] Each of the 100 extras used in the London ballroom scene, depicting "soldiers and lawyers to fops and dowagers," don visually distinct costumes.[50][56]

text: For Brandon's costumes, Beavan and Bright consulted with Thompson and Lee and decided to have him project an image of "experienced and dependable masculinity."[55] Brandon is first seen in black, but later he wears sporting gear in the form of corduroy jackets and shirtsleeves. His rescue of Marianne has him transforming into the "romantic Byronic hero", sporting an unbuttoned shirt and loose cravat. In conjunction with his tragic backstory, Brandon's "flattering" costumes help his appeal to the audience.[57] Beavan and Bright's work on the film earned them a nomination for Best Costume Design at the 68th Academy Awards.[58]

text: Filming[edit]

text: The film was budgeted at $16 million,[59][60] the largest Ang Lee had yet received as well as the largest awarded to an Austen film that decade.[61] In the wake of the success of Columbia's 1994 film Little Women, the American studio authorised Lee's "relatively high budget" out of an expectation that it would be another cross-over hit and appeal to multiple audiences, thus yielding high box office returns.[31][62] Nevertheless, Doran considered it a "low budget film"[63] and many of the ideas Thompson and Lee came up with – such as an early dramatic scene depicting Mr. Dashwood's bloody fall from a horse – were deemed unfilmable from a cost perspective.[64][65]

text: According to Thompson, Lee "arrived on set with the whole movie in his head".[66] Rather than focus on period details, he wanted his film to concentrate on telling a good story. He showed the cast a selection of films adapted from classic novels, including Barry Lyndon and The Age of Innocence, which he believed to be "great movies; everybody worships the art work, [but] it's not what we want to do."[60] Lee criticised the latter film for lacking energy, in contrast to the "passionate tale" of Sense and Sensibility.[60]

text: The cast and crew experienced "slight culture shock" with Lee on a number of occasions. He expected the assistant directors to be the "tough ones" and keep production on schedule, while they expected the same of him; this led to a slower schedule in the early stages of production.[67] Additionally, according to Thompson the director became "deeply hurt and confused" when she and Grant made suggestions for certain scenes, which was something that was not done in his native country.[12][27] Lee thought his authority was being undermined and lost sleep,[68] though this was gradually resolved as he became used to their methods.[69][70] The cast "grew to trust his instincts so completely," making fewer and fewer suggestions.[66] Co-producer James Schamus stated that Lee also adapted by becoming more verbal and willing to express his opinion.[71]

text: Lee became known for his "frightening" tendency to not "mince words".[72] The director often had his cast do numerous takes for a scene in order to get the perfect shot,[12][30] and was not afraid to call something "boring" if he disliked it.[72] Thompson later recalled the director would "always come up to you and say something unexpectedly crushing", such as asking her not to "look so old."[68][73] She also commented, however, that "he doesn't indulge us but is always kind when we fail."[74] Due to Thompson's extensive acting experience, the director encouraged her to practice t'ai chi to "help her relax [and] make her do things simpler."[60] Other actors soon joined them in meditating – according to Doran, it "was pretty interesting. There were all these pillows on the floor and these pale-looking actors were saying, 'What have we got ourselves into?' [Lee] was more focused on body language than any director I've ever seen or heard of."[60] He suggested Winslet read books of poetry and report back to him in order to best understand her character. He also had Thompson and Winslet live together to develop their characters' sisterly bond.[27] Many of the cast took lessons in etiquette and riding side-saddle.[75]

text: Lee found that in contrast to Chinese cinema,[68] he had to dissuade many of the actors from using a "very stagy, very English tradition. Instead of just being observed like a human being and getting sympathy, they feel they have to do things, they have to carry the movie."[60] Grant in particular often had to be restrained from giving an "over-the-top" performance; Lee later recalled that the actor is "a show stealer. You can't stop that. I let him do, I have to say, less 'star' stuff, the Hugh Grant thing ... and not [let] the movie serve him, which is probably what he's used to now."[60] For the scene in which Elinor learns Edward is unmarried, Thompson found inspiration from her reaction to her father's death.[76] Grant had been unaware that Thompson would cry through most of his speech, and the actress attempted to reassure him, "'There's no other way, and I promise you it'll work, and it will be funny as well as being touching.' And he said, 'Oh, all right,' and he was very good about it".[77] Lee had one demand for the scene, that Thompson avoid the temptation to turn her head towards the camera.[30]

text: Locations[edit]

text: Production of Sense and Sensibility was scheduled for fifty-eight days, though this was eventually extended to sixty-five.[17] Filming commenced in mid-April 1995 at a number of locations in Devon, beginning with Saltram House (standing in for Norland Park),[78][79] where Winslet and Jones shot the first scene of the production: when their characters read about Barton Cottage.[80] As Saltram was a National Trust property, Schamus had to sign a contract before production began, and staff with the organisation remained on set to carefully monitor the filming. Production later returned to shoot several more scenes, finishing there on 29 April.[81] The second location of filming, Flete House, stood in for part of Mrs. Jennings' London estate, where Edward first sees Elinor with Lucy.[82][83] Representing Barton Cottage was a Flete Estate stone cottage, which Thompson called "one of the most beautiful spots we've ever seen."[84]

text: Early May saw production at the "exquisite" village church in Berry Pomeroy for the final wedding scene.[85][86] From the tenth to the twelfth of May, Marianne's first rescue sequence, depicting her encounter with Willoughby, was shot. Logistics were difficult, as the scene was set upon a hill during a rainy day.[87] Lee shot around fifty takes, with the actors becoming soaked under rain machines; this led to Winslet eventually collapsing from hypothermia.[68][88] Further problems occurred midway through filming, when Winslet contracted phlebitis in her leg, developed a limp, and sprained her wrist after falling down a staircase.[89]

text: From May to July, production took place at a number of other National Trust estates and stately homes across England. Trafalgar House and Wilton House in Wiltshire stood in for the grounds of Barton Park and the London Ballroom respectively. Mompesson House, an eighteenth-century townhouse located in Salisbury, represented Mrs. Jennings' sumptuous townhouse. Sixteenth-century Montacute House in South Somerset was the setting for the Palmer estate of Cleveland House.[90] Further scenes were shot at Compton Castle in Devon (Mr Willoughby's estate)[91] and at the National Maritime Museum in Greenwich.[92]

text: Music[edit]

text: Composer Patrick Doyle, who had previously worked with his friend Emma Thompson in the films Henry V, Much Ado About Nothing, and Dead Again, was hired to produce the music for Sense and Sensibility.[93] Asked by the director to select existing music or compose new "gentle" melodies, Doyle wrote a score that reflected the film's events.[94][95] He explained, "You had this middle-class English motif, and with the music you would have occasional outbursts of emotion."[93] Doyle explains that the score "becomes a little more grown-up" as the story progresses to one of "maturity and an emotional catharsis."[95] The score contains romantic elements[96][97] and has been described by National Public Radio as a "restricted compass ... of emotion" with "instruments [that] blend together in a gentle sort of way".[98] They also noted that as a reflection of the story, the score is a "little wistful ... and sentimental."[98]

text: Two songs are sung by Marianne in the film, with lyrics adapted from seventeenth-century poems. Lee believed that the two songs conveyed the "vision of duality" visible both in the novel and script.[94] In his opinion, the second song expressed Marianne's "mature acceptance," intertwined with a "sense of melancholy".[94] The melody of "Weep You No More Sad Fountains", Marianne's first song, appears in the opening credits, while her second song's melody features again during the ending credits, this time sung by dramatic soprano Jane Eaglen.[94] The songs were written by Doyle before filming began.[99] The composer received his first Academy Award nomination for his score.[97]

text: Editing[edit]

text: Thompson and Doran discussed how much of the love stories to depict, as the male characters spend much of the novel away from the Dashwood sisters. The screenwriter had to carefully balance the amount of screentime she gave to the male leads, noting in her film production diary that such a decision would "very much lie in the editing."[100] Thompson wrote "hundreds of different versions" of romantic storylines. She considered having Edward re-appear midway through the film before deciding that it would not work as "there was nothing for him to do."[100] Thompson also opted to exclude the duel scene between Brandon and Willoughby, which is described in the novel, because it "only seemed to subtract from the mystery."[100] She and Doran agonised about when and how to reveal Brandon's backstory, as they wanted to prevent viewers from becoming bored. Thompson described the process of reminding audiences of Edward and Brandon as "keeping plates spinning".[101]

text: A scene was shot of Brandon finding his ward in a poverty-stricken area in London, but this was excluded from the film. [102] Thompson's script included a scene of Elinor and Edward kissing, as the studio "couldn't stand the idea of these two people who we've been watching all the way through not kissing."[103] It was one of the first scenes cut during editing: the original version was over three hours, Lee was less interested in the story's romance, and Thompson found a kissing scene to be inappropriate. The scene was included in marketing materials and the film trailer.[103][104][105] Thompson and Doran also cut out a scene depicting Willoughby as remorseful when Marianne is sick. Doran said that despite it "being one of the great scenes in book history," they could not get it to fit into the film.[106]

text: Tim Squyres edited the film, his fourth collaboration with Ang Lee. He reflected in 2013 about the editing process,

text: "It was the first film that I had done with Ang that was all in English, and it's Emma Thompson, Kate Winslet, Alan Rickman, and Hugh Grant — these great, great actors. When you get footage like that, you realise that your job is really not technical. It was my job to look at something that Emma Thompson had done and say, 'Eh, that's not good, I'll use this other one instead.' And not only was I allowed to pass judgment on these tremendous actors, I was required to."[107]

text: Themes and analysis[edit]

text: Changes from source material[edit]

text: Scholar Louise Flavin has noted that Thompson's screenplay contains significant alterations to the characters of Elinor and Marianne Dashwood: in the novel, the former embodies "sense", i.e. "sensible" in our terms, and the latter, "sensibility", i.e. "sensitivity" in our terms. Audience members are meant to view self-restrained Elinor as the person in need of reform, rather than her impassioned sister.[108][109] To heighten the contrast between them, Marianne and Willoughby's relationship includes an "erotic" invented scene in which the latter requests a lock of her hair – a direct contrast to Elinor's "reserved relationship" with Edward.[105] Lee also distinguishes them through imagery – Marianne is often seen with musical instruments, near open windows, and outside, while Elinor is pictured in door frames.[110] Another character altered for modern viewers is Margaret Dashwood, who conveys "the frustrations that a girl of our times might feel at the limitations facing her as a woman in the early nineteenth century."[111] Thompson uses Margaret for exposition in order to detail contemporary attitudes and customs. For instance, Elinor explains to a curious Margaret – and by extension, the audience – why their half-brother inherits the Dashwood estate.[111] Margaret's altered storyline, giving her an interest in fencing and geography, also allows audience members to see the "feminine" side of Edward and Brandon, as they become father or brother figures to her.[105][112][113] The film omits the characters of Lady Middleton and her children, as well as that of Ann Steele, Lucy's sister.[114]

text:
"The changes that Emma Thompson's screenplay makes to the male characters, if anything, allow them to be less culpable, more likeable, and certainly less sexist or patriarchal."

— Austen scholar Devoney Looser[115]

text: When adapting the characters for film, Thompson found that in the novel, "Edward and Brandon are quite shadowy and absent for long periods," and that "making the male characters effective was one of the biggest problems. Willoughby is really the only male who springs out in three dimensions."[44] Several major male characters in Sense and Sensibility were consequently altered significantly from the novel in an effort to appeal to contemporary audiences.[116] Grant's Edward and Rickman's Brandon are "ideal" modern males who display an obvious love of children as well as "pleasing manners", especially when contrasted with Palmer.[115] Thompson's script both expanded and omitted scenes from Edward's storyline, including the deletion of an early scene in which Elinor assumes that a lock of hair found in Edward's possession is hers, when it belongs to Lucy. He was made more fully realised and honourable than in the novel to increase his appeal to viewers.[105][117] To gradually show viewers why Brandon is worthy of Marianne's love, Thompson's screenplay has his storyline mirroring Willoughby's; they are similar in appearance, share a love of music and poetry, and rescue Marianne in the rain while on horseback.[105][118][119]

text: Class[edit]

text: Thompson viewed the novel as a story of "love and money," noting that some people needed one more than the other.[120] During the writing process, executive producer Sydney Pollack stressed that the film be understandable to modern audiences, and that it be made clear why the Dashwood sisters could not just obtain a job.[8] "I'm from Indiana; if I get it, everyone gets it," he said.[121] Thompson believed that Austen was just as comprehensible in a different century, "You don't think people are still concerned with marriage, money, romance, finding a partner?"[12][122] She was keen to emphasise the realism of the Dashwoods' predicament in her screenplay,[123] and inserted scenes to make the differences in wealth more apparent to modern audiences. Thompson made the Dashwood family richer than in the book and added elements to help contrast their early wealth with their later financial predicament; for instance, because it might have been confusing to viewers that one could be poor and still have servants, Elinor is made to address a large group of servants at Norland Park early in the film for viewers to remember when they see their few staff at Barton Cottage.[124] Lee also sought to emphasise social class and the limitations it placed on the protagonists.[125] Lee conveys this in part when Willoughby publicly rejects Marianne; he returns to a more lavishly furnished room, a symbol of the wealth she has lost.[126][127] "Family dramas," he stated, "are all about conflict, about family obligations versus free will."[128]

text: The film's theme of class has attracted much scholarly attention. Carole Dole noted that class constitutes an important element in Austen's stories and is "impossible" to avoid when adapting her novels. According to Dole, Lee's film contains an "ambiguous treatment of class values" that stresses social differences but "underplays the consequences of the class distinctions so important in the novel";[129] for instance, Edward's story ends upon his proposal to Elinor, with no attention paid to how they will live on his small annual income from the vicarage.[7] Louise Flavin believed that Lee used the houses to represent their occupants' class and character: the Dashwood sisters' decline in eligibility are represented through the contrast between the spacious rooms of Norland Park and those of the isolated, cramped Barton Cottage.[130] James Thompson criticised what he described as the anaesthetised "mélange of disconnected picture postcard-gift-calendar-perfect scenes," in which little connection is made between "individual subjects and the land that supports them."[131] Andrew Higson argued that while Sense and Sensibility includes commentary on sex and gender, it fails to pursue issues of class. Thompson's script, he wrote, displays a "sense of impoverishment [but is] confined to the still privileged lifestyle of the disinherited Dashwoods. The broader class system is pretty much taken for granted."[132] The ending visual image of flying gold coins, depicted during Marianne's wedding, has also drawn attention; Marsha McCreadie noted that it serves as a "visual wrap-up and emblem of the merger between money and marriage."[133]

text: Gender[edit]

text: Gender has been seen as another major theme of the film, often intersecting with class. Penny Gay observed that Elinor's early dialogue with Edward about "feel[ing] idle and useless... [with] no hope whatsoever of any occupation" reflected Thompson's background as a "middle class, Cambridge-educated feminist."[134] Conversely, Dole wrote that Thompson's version of Elinor "has a surprising anti-feminist element to it," as she appears more dependent on men than the original character; the film presents her as repressed, resulting in her emotional breakdown with Edward.[135] Linda Troost opined that Lee's production prominently features "radical feminist and economic issues" while "paradoxically endorsing the conservative concept of marriage as a woman's goal in life."[136] Despite this "mixed political agenda," Troost believed that the film's faithfulness to the traditional heritage film genre is evident through its use of locations, costumes, and attention to details, all of which also emphasize class and status.[50] Gay and Julianne Pidduck stated that gender differences are expressed by showing the female characters indoors, while their male counterparts are depicted outside confidently moving throughout the countryside.[137][138] Nora Stovel observed that Thompson "emphasises Austen’s feminist satire on Regency gender economics," drawing attention not only to the financial plight of the Dashwoods but also to eighteenth-century women in general.[105]

text: Marketing and release[edit]

text: In the United States, Sony and Columbia Pictures released Sense and Sensibility on a slow schedule compared to mainstream films, first premiering it on 13 December 1995.[31] Believing that a limited release would position the film both as an "exclusive quality picture" and increase its chances of winning Academy Awards, Columbia dictated that its first weekend involve only seventy cinemas in the US; it opened in eleventh place in terms of box office takings and earned $721,341.[71][139][140] To benefit from the publicity surrounding potential Academy Award candidates and increase its chance of earning nominations, the film was released within "Oscar season".[31] The number of theatres showing Sense and Sensibility was slowly expanded, with particular surges when its seven Oscar nominations were announced and at the time of the ceremony in late March, until it was present in over one thousand cinemas across the US.[139] By the end of its American release, Sense and Sensibility had been watched by more than eight million people,[141] garnering an "impressive" total domestic gross of $43,182,776.[139][142]

text: On the basis of Austen's reputation as a serious author, the producers were able to rely on high-brow publications to help market their film. Near the time of its US release, large spreads in The New York Review of Books, Vanity Fair, Film Comment, and other media outlets featured columns on Lee's production.[143] In late December, Time magazine declared it and Persuasion to be the best films of 1995.[144] Andrew Higson referred to all this media exposure as a "marketing coup" because it meant the film "was reaching one of its target audiences."[143] Meanwhile, most promotional images featured the film as a "sort of chick flick in period garb."[143] New Market Press published Thompson's screenplay and film diary;[145][146] in its first printing, the hard cover edition sold 28,500 copies in the US.[147] British publisher Bloomsbury released a paperback edition of the novel containing film pictures, same title design, and the cast's names on the cover, whilst Signet Publishing in the US printed 250,000 copies instead of the typical 10,000 a year; actress Julie Christie read the novel in an audiobook released by Penguin Audiobooks.[148][149] Sense and Sensibility increased dramatically in terms of its book sales, ultimately hitting tenth place on The New York Times Best Seller list for paperbacks in February 1996.[150]

text: In the United Kingdom, Sense and Sensibility was released on 23 February 1996 in order to "take advantage of the hype from Pride and Prejudice", another popular Austen adaptation recently broadcast. Columbia Tristar's head of UK marketing noted that "if there was any territory this film was going to work, it was in the UK."[139] After receiving positive responses at previews, marketing strategies focused on selling it as both a costume drama and as a film attractive to mainstream audiences.[151] Attention was also paid to marketing Sense and Sensibility internationally. Because the entire production cycle had consistently emphasised it as being "bigger" than a normal British period drama literary film, distributors avoided labelling it as "just another English period film."[152] Instead, marketing materials featured quotations from populist newspapers such as the Daily Mail, which compared the film to Four Weddings and a Funeral (1994).[152] It was watched by more than ten million viewers in Europe.[141] Worldwide, the film ultimately grossed $134,582,776,[140] a sum that reflected its commercial success.[71][153] It had the largest box office gross out of the Austen adaptations of the 1990s.[61]

text: Reception[edit]

text: Critical response[edit]

text:
"This Sense And Sensibility is stamped indelibly by Ang Lee's characteristically restrained direction ... Although somewhat older than one might expect Elinor to be, Emma Thompson invests the character with a touching vulnerability, while Kate Winslet, who made such an eye catching debut in Heavenly Creatures last year, perfectly catches the confusions within the idealistically romantic but betrayed Marianne."

— Michael Dwyer in a review for The Irish Times[154]

text: Sense and Sensibility has received overwhelmingly positive reviews from film critics,[155] and was included on more than a hundred top-ten of the year lists.[27] Writing for Variety magazine, Todd McCarthy observed that the film's success was assisted by its "highly skilled cast of actors," as well as its choice of Lee as director. McCarthy clarified, "Although [Lee's] previously revealed talents for dramatizing conflicting social and generational traditions will no doubt be noted, Lee's achievement here with such foreign material is simply well beyond what anyone could have expected and may well be posited as the cinematic equivalent of Kazuo Ishiguro writing The Remains of the Day."[156]

text: Mick LaSalle of the San Francisco Chronicle lauded the film for containing a sense of urgency "that keeps the pedestrian problems of an unremarkable 18th century family immediate and personal."[157] LaSalle concluded that the adaptation has a "right balance of irony and warmth. The result is a film of great understanding and emotional clarity, filmed with an elegance that never calls attention to itself."[157] Film critic John Simon praised most of the film, particularly focusing on Thompson's performance, though he criticised Grant for being "much too adorably bumbling ... he urgently needs to chasten his onscreen persona, and stop hunching his shoulders like a dromedary."[158] However, many other major critics such as LaSalle, Roger Ebert, James Berardinelli and Janet Maslin praised Grant's performance. Maslin wrote, Grant "rises touchingly to the film's most straightforward and meaningful encounters."[159]

text: In The Mail on Sunday, William Leith found Sense and Sensibility to be "an extremely sharp, subtle, clever, lovely looking film" that was superior to the serial Pride and Prejudice. Leith especially saved praise for the cast, writing that Grant plays his role "masterfully" and Harriet Walter "conveys sour bitchiness like you never thought she could."[160] Jarr Carr of The Boston Globe thought that Lee "nail[ed] Austen's acute social observation and tangy satire," and viewed Thompson and Winslet's age discrepancy as a positive element that helped feed the dichotomy of sense and sensibility.[161] The Radio Times' David Parkinson was equally appreciative of Lee's direction, writing that he "avoid[s] the chocolate-box visuals that cheapen so many British costume dramas" and "brings a refreshing period realism to the tale of two sisters that allows Emma Thompson's respectful Oscar-winning script to flourish."[162]

text: Accolades[edit]

text: Out of the 1990s Austen adaptations, Sense and Sensibility received the most recognition from Hollywood.[163] It garnered seven nominations at the 68th Academy Awards ceremony, where Thompson received the Award for Best Adapted Screenplay,[164] making her the only person to have won an Oscar for both her writing and acting (Thompson won the Best Actress award for Howards End, in 1993).[165][166] The film also was the recipient of twelve nominations at the 49th British Academy Film Awards, including Best Film, Best Actress in a Leading Role (for Thompson), and Best Actress in a Supporting Role (for Winslet).[167] In addition, the film won the Golden Bear at the 46th Berlin International Film Festival,[168] making Lee the first director to win this twice.[162]

text: Despite the recognition given to the film, Lee was not nominated for the Academy Award for Best Director (though he was nominated for the Golden Globe). The scholar Shu-mei Shih and the journalist Clarence Page have attributed this snub to Hollywood's racism against Lee, and Chinese cinema in general.[169][170] Lee sought to avoid turning his omission into a scandal and specifically asked the Taiwan state media not to make it a "national issue," explaining that he endured more pressure when forced to act as his country's representative.[171]

text: Legacy and influence[edit]

text: Following the theatrical release of Persuasion by a few months, Sense and Sensibility was one of the first English-language period adaptations of an Austen novel to be released in cinemas in over fifty years, the previous being the 1940 film Pride and Prejudice.[172][173] The year 1995 saw a resurgence of popularity for Austen's works, as Sense and Sensibility and the serial Pride and Prejudice both rocketed to critical and financial success.[174][175] The two adaptations helped draw more attention to the previously little-known 1995 television film Persuasion, and led to additional Austen adaptations in the following years.[176] In 1995 and 1996, six Austen adaptations were released onto film or television.[173] The filming of these productions led to a surge in popularity of many of the landmarks and locations depicted;[94] according to the scholar Sue Parrill, they became "instant meccas for viewers."[19]

text: When Sense and Sensibility was released in cinemas in the US, Town & Country published a six-page article entitled "Jane Austen's England", which focused on the landscape and sites shown in the film. A press book released by the studio, as well as Thompson's published screenplay and diaries, listed all the filming locations and helped to boost tourism. Saltram House for instance was carefully promoted during the film's release, and saw a 57 percent increase in attendance.[177][178] In 1996, JASNA's membership increased by fifty percent.[179] The popularity of both Sense and Sensibility and Pride and Prejudice led to the BBC and ITV releasing their Austen adaptations from the 1970s and 1980s onto DVD.[180]

text: As the mid-1990s included adaptations of four Austen novels, there were few of her works to adapt. Andrew Higson argues that this resulted in a "variety of successors" in the genres of romantic comedy and costume drama, as well as with films featuring strong female characters. Cited examples include Mrs Dalloway (1997), Mrs. Brown (1997), Shakespeare in Love (1998), and Bridget Jones's Diary (2001).[181] In 2008, Andrew Davies, the screenwriter of Pride and Prejudice, adapted Sense and Sensibility for television. As a reaction to what he said was Lee's overly "sentimental" film, this production features events found in the novel but excluded from Thompson's screenplay, such as Willoughby's seduction of Eliza and his duel with Brandon. It also features actors closer to the ages in the source material.[182]

text: Sense and Sensibility has maintained its popularity into the twenty-first century. In 2004, Louise Flavin referred to the 1995 film as "the most popular of the Austen film adaptations,"[4] and in 2008, The Independent ranked it as the third-best Austen adaptation of all time, opining that Lee "offered an acute outsider's insight into Austen in this compelling 1995 interpretation of the book [and] Emma Thompson delivered a charming turn as the older, wiser, Dashwood sister, Elinor."[183] Journalist Zoe Williams credits Thompson as the person most responsible for Austen's popularity, explaining in 2007 that Sense and Sensibility "is the definitive Austen film and that's largely down to her."[184] In 2011, The Guardian film critic Paul Laity named it his favourite film of all time, partly because of its "exceptional screenplay, crisply and skilfully done.".[185] Devoney Looser reflected on the film in The Atlantic on the 20th anniversary of its release, arguing that the film served as "a turning point" for "pro-feminist masculinity" in Austen adaptations.[186]


document_title: Meteor Garden (2018 TV series)

question_text: when will episode 21 of meteor garden be released

text: Meteor Garden (2018 TV series)

text: Synopsis[edit]

text: The story centers around an ordinary girl, Dong Shancai (Shen Yue) who is accepted to the most prestigious university in the country. She encounters F4, an exclusive group composed of the four popular boys in the institution - Dao Mingsi (Dylan Wang), Hua Zelei (Darren Chen), Yan Ximen (Caesar Wu), and Feng Meizuo (Connor Leong). Shancai is a girl from a family that is barely able to make ends meet. Due to the nature of her personality, she immediately clashes with F4, especially Dao Mingsi who is spoiled, arrogant, and a bully. She remains defiant even after becoming a target of Dao Mingsi and just when she's about to give up, Hua Zelei always seems to show up to comfort her. Eventually, the four boys begin to acknowledge Shancai's unyielding personality that is like her namesake, which is that of a weed that can never be brought down. She also begins to see the good in the boys, which paves the way for friendship and an eventual romance.

text: Cast[edit]

text: Main Cast[edit]

text:
Actor/Actress

Character Names

Characteristics

Shen Yue

Dong Shancai
(董杉菜)

The protagonist of the story. Dong Shancai is a strong-willed, stubborn, and kind girl who doesn't allow herself or others be bullied. After angering Daoming Si, she receives a sacred 'Joker' card given by the F4, who challenged her to a match of Contract bridge. Initially, she likes Huaze Lei who comes to her rescue during her worst moments; however, after a series of events, she starts developing feelings for Daoming Si. Due to her headstrong nature, she soon earns the respect of the F4 boys and becomes good friends with them.

Dylan Wang / Wang Hedi

Daoming Si
(道明寺)

The stubborn, hot-headed, and arrogant leader of F4. Daoming Si comes from a wealthy, domineering family that believes money can buy everything. He never fully matured because his parents were not present for much of his life (his father died when he was in high school, and his mother was often busy leading her company overseas). Daoming Si gets easily angry when something doesn't go his way. Daoming Si slowly falls in love with Dong Shancai due to her defiant stance to his bullying ways. Although he may get irrationally angry due to jealousy, his feelings for Dong Shancai run deep. He strives to protect Dong Shancai at all costs and is willing to go to extreme ends to keep her safe.

Darren Chen / Guan Hong

Huaze Lei
(花澤類)

A member of F4. On the exterior, Huaze Lei appears cold, quiet, and indifferent to those outside his circle of friends. In reality, he is protective of Dong Shancai and is grateful for her being there for him during his worst times. Also from a wealthy family, Huaze Lei has been friends with Daoming Si since they were kids. He is in love with his childhood friend Tengtang Jing, who befriended him despite his quiet demeanor due to his mild autism, when he was very young. He later on develops feelings for Shancai.

Connor Leong / Liang Jing Kang

Feng Meizuo
(冯美作)

A member of F4. Meizuo enjoys making jokes and has an incredible memory. He is a flirtatious casanova. He expresses interest in Dong Shan Cai's impressive competitor in the Chinese Cuisine competition.

Caesar Wu / Wu Xize

Ximen Yan
(西門彦)

A member of F4. Ximen is a playboy, although he expresses interest in Shan Cai's best friend, Xiaoyou .

tag: table

text: Supporting Cast[edit]

text:
Li Jiaqi as Jiang Xiaoyou
Liu Yinhao as Chen Qinghe[4]
Sun Qian as He Yuanzi[5] / Xiao Zi
Dee Hsu as Daoming Zhuang
An Ziyi as Li Xinhui
Dong Xin as Li Zhen
Wang Lin / Lilian Wang as Daoming Feng
Sun Yihan as Tengtang Jing
Wang Runze as Tian Ye
Blake Abbie as Thomas
Wang Zi Zhen as Jiang Bai He
Liu Ye as Zhou Cai Na
Zhao Hua Ran as Yan Shun Ping
Kirito Kirigaya as Ken[6]

tag: ul

text: Cameo[edit]

text:
Wang Yue as Yue Ji
Amber Kuo as Guo Kai Jie
Jin Hao Chen as Yan Zhi Bu
Harlem Yu

text: Production[edit]

text: In April 2017, Angie Chai announced the remake of Meteor Garden, which she produced in 2001.[1] Prior to the announcement, Barbie Hsu hinted at the news on her Weibo account. Chai plans on making the remake a "fuller—and flashier—adaptation of the books".[7] The drama is budgeted at 720 million New Taiwan dollars (about US$24 million) with 15 million per episode, which is thirty times higher than the original.[1]

text: A casting call was announced on social media on June 21, 2017 with a video and the topic, "#FindingF4#".[8] On November 7, 2017, the actors playing the F4 were revealed, namely Dylan Wang (Daoming Si), Darren Chen (Huaze Lei), Connor Leong (Meizuo), and Caesar Wu (Xi Men).[9] Shen Yue's role as Dong Shancai was unveiled at a press conference in Shanghai on November 9.[10]

text: On February 2018, it was announced that the director has been changed from Xu Fuxiang to Lin Helong.[2]

text: Original Soundtrack[edit]

text: No.TitleSingerLength1."The Love You Want (Night Version) [你要的爱 (深夜版)]"Penny Tai (戴佩妮)04:212."For You"Dylan Wang (王鹤棣), Darren Chen (官鸿), Connor Leong (梁靖康), Caesar Wu (吴希泽)03:323."Waiting For Someone (等一个人)"Shennio Lin (林芯仪)04:214."Meteor Shower (流星雨)"Jerry Yan (言承旭), Vic Chou (周渝民), Ken Chu (朱孝天), Vanness Wu (吴建豪)04:345."Create Memories (创造回忆)"Dylan Wang (王鹤棣), Darren Chen (官鸿), Connor Leong (梁靖康), Caesar Wu (吴希泽)05:176."Never Thought Of (从来没想到)"Dylan Wang (王鹤棣), Darren Chen (官鸿), Connor Leong (梁靖康), Caesar Wu (吴希泽)03:417."I Don’t Even Think About It (想都不用想)"Dylan Wang (王鹤棣)04:038."Non-Small (非同小可)"Dylan Wang (王鹤棣)02:519."Gentle Behind The Flower (花背后的温柔)"Darren Chen (官鸿)03:5310."Star Number Meteor (星星数流星)"Connor Leong (梁靖康)03:2811."I Miss You Thinking About Going Crazy (想你想到快疯了)"Caesar Wu (吴希泽)05:0612."Emotional (情非得已)"Harlem Yu (庾澄庆)04:3313."I Miss You Thinking About Going Crazy (想你想到快疯了)"Clover Kao (高隽雅)04:1414."Love, Existence (爱，存在)"Qiqi Wei (魏奇奇)04:4615."The Love You Want (你要的爱)"Fu Yan (芙筱)04:0316."River"Bishop Briggs03:3417."Say Something"A Great Big World03:5218."Anyone of Us (Stupid Mistake)"Gareth Gates03:48

text: International Broadcast[edit]

text: Philippines: ABS-CBN It premiered on August 20, 2018 with high ratings.[11]

text: Indonesia: SCTV will have the rights to air the program.[12] However, Viu has the streaming rights to the program and air first on July 16.[13]

text: Besides Indonesia, Thailand, and the Philippines, the show will air as a Netflix Exclusive under the Netflix Originals category and will start streaming on July 13, 2018.

text: Ratings[edit]

text:
Episode #

Original broadcast date

Average audience share (CSM52)

Average audience share (National Average)

Ratings

Audience share

Ranking

Ratings

Audience share

Ranking

1-2
July 9, 2018
1.126%
8.04%
4
1.11%
9.68%
3

3-4
July 10, 2018
1.032%
7.023%
4
1.11%
9.03%
4

5-6
July 11, 2018
0.991%
6.731%
5
1.12%
8.85%
4

7-8
July 16, 2018
0.931%
7.045%
6
1.1%
9.77%
3

9-10
July 17, 2018
0.919%
6.803%
8
1.12%
9.57%
4

11-12
July 18, 2018
0.983%
7.254%
8
0.97%
8.71%
4

13-14
July 19, 2018
0.922%
6.42%
9
1.12%
9.24%
4

15-16
July 23, 2018
0.861%
6.726%
9
0.97%
9.07%
5

17-18
July 24, 2018
0.893%
6.571%
8
1.09%
9.76%
4

19-20
July 25, 2018
0.969%
7.042%
8
0.99%
8.6%
3

21-22
July 30, 2018
0.916%
6.876%
6
1%
8.92%
4

23-24
July 31, 2018
0.914%
6.792%
5
1.09%
9.31%
4

25-26
August 1, 2018
0.872%
6.584%
6
0.81%
7.21%
5

27-28
August 6, 2018
0.824%
6.46%
7
0.89%
8.07%
4

29-30
August 7, 2018
0.781%
6.058%
7
0.92%
7.92%
4

31-32
August 8, 2018
0.792%
6.027%
6
0.97%
8.61%
4

33-34
August 13, 2018
0.756%
5.808%
7
0.84%
7.59%
5

35-36
August 14, 2018
0.749%
5.771%
5
0.78%
7.22%
4

37-38
August 15, 2018
0.669%
5.325%
6
0.72%
6.66%
4

39-40
August 20, 2018
0.751%
5.879%
3
0.77%
7.31%
3

41-42
August 21, 2018
0.709%
5.595%
3
0.69%
6.33%
3

43-44
August 22, 2018
0.592%
4.336%
7
0.57%
5.1%
5

45-46
August 27, 2018

47-48
August 28, 2018

49-50
August 29, 2018

Average

—

—

text: Episodes[edit]

text: Season 1 (2018)[edit]

text:
No. Overall

No. in Season

Original Airdate

Summary

1

1

July 9, 2018

Eighteen-year-old Shancai kicks off her first year at Ming De University with misadventures, drawing the ire of popular school heartthrob Daoming Si. She hopes to study nutrition to help her mother's business. Ming De University is dominated by a group of 4 popular boys, known as F4. As students rush to take pictures of F4, Daoming Si unknowingly steps and cracks the screen of Shancai's phone. A junior describes the talents of F4 and also the fear they instill in their peers, but Shancai still goes to confront Daoming Si, the one who stepped on her phone. Instead, she accidentally pushes Mr. Bobbitt, a visitor to the university and is sent home. Later, Daoming Si orders 20 boxes of takeout from Shancai's mother's business. After she arrives, they bicker, and it culminates with him smashing one of the boxes on her neck. Once she leaves, she is assaulted by 2 men and is saved by Huaze Lei, another member of F4. The next day, she returns to kick Daoming Si, right in the face, knocking him out. Daoming Si's friends in F4 carry him away and leave him tied up in toilet paper.
After  sucking
out DaoMing si with one kick that has made her famous through the entire school, Shancai is puzzled when two men in suits extend her with an invitation to DaoMing si's mansion. She wonders if it's a trick since the men claim that DaoMing si is ready to apologize, but she gets in the car anyway. Upon her arrival, an army of stylists flock to her and after much poking and scrubbing against her will, Shancai emerges all made up in a cute outfit.

43

43

August 22, 2018

Si was rushed to a hospital operating room in Shanghai after being stabbed. The ICPO informed Si’s friends and Shancai that the suspects were two previous Daoming hotel employees seeking revenge for losing their job after poor management forced the hotel to shut down. The ICPO also informed them that Xiaozi confessed that the kidnapping was part of a prank of hers. Xiamen admitted that they were invited by Xiaozi to her island for a party and only later found out that it was a prank.
Xiaozi arrived at the hospital after her police interrogation and apologized to Shancai. Mrs. Daoming arrived a while later with Mrs. Yu. After seeing Si safely, she scheduled a ride for the next flight back to London and left Mrs. Yu to care for Si. As Mrs. Daoming was leaving the hospital, she warned Shancai to stop seeing Si and told Xiaozi to stop befriending Shancai. Shancai retorted that she will stay with Si until he personally tells her that he does not want her.
Si’s surgery was a success, but a skull injury caused a blood vessel clog. When Si woke from his coma, he remembers everyone except Shancai. At Meizuo’s suggestion, Shancai starts recalling their memories together and begs him to remember her. After she declares her love and vows that she will never leave him, he reveals the joke, surprising everyone but Lei who suspected it. Seeing that Si was back to normal, Lei asks Mrs. Yu to go home and rest, requesting that she does not inform Mrs. Daoming yet about Si regaining consciousness. Mrs. Yu assures him that she will only inform Zhuang, Si’s sister, about Si’s condition.
Shancai returns to school and gained sudden popularity due to her media coverage during the attack on Si. After Si got discharged from the hospital, he decides to stay in Lei’s house to avoid his mother's attention. He tells Lei about his plan to marry Shancai and hints on a secret plan for a new concept for the Daoming group hotels. Meanwhile, Xiaoyou joins the Way of Tea club where she forms an immediate bond with a short-haired lady called Yifen.


document_title: List of Olympic Games host cities

question_text: when was the last time us hosted the olympics

text: List of Olympic Games host cities

text: Olympic Games host cities[edit]

text:
City
Country
Continent
Summer (Olympiad)
Winter
Year
Opening Ceremony
Closing Ceremony

Athens
 Greece
Europe
S005I
—
1896
000000002018-04-06-0000April 6
000000002018-04-15-0000April 15

Paris
 France
Europe
S005II
—
1900
000000002018-05-14-0000May 14
000000002018-10-28-0000October 28

St. Louis[a]
 United States
North America
S005III
—
1904
000000002018-07-01-0000July 1
000000002018-11-23-0000November 23

London[c]
 United Kingdom
Europe
S005IV
—
1908
000000002018-04-27-0000April 27
000000002018-10-31-0000October 31

Stockholm
 Sweden
Europe
S005V
—
1912
000000002018-05-05-0000May 5
000000002018-07-22-0000July 22

Berlin
 Germany
Europe
S006VI
—
1916
Cancelled due to WWI[4]

Antwerp[d]
 Belgium
Europe
S007VII
—
1920
000000002018-04-20-0000April 20
000000002018-09-12-0000September 12[5]

Chamonix
 France
Europe
—
W001I
1924
000000002018-01-25-0000January 25
000000002018-02-04-0000February 4[6]

Paris
 France
Europe
S008VIII
—
000000002018-05-04-0000May 4
000000002018-07-27-0000July 27[7]

St. Moritz
  Switzerland
Europe
—
W002II
1928
000000002018-02-11-0000February 11
000000002018-02-19-0000February 19[8]

Amsterdam
 Netherlands
Europe
S009IX
—
000000002018-05-17-0000May 17
000000002018-08-12-0000August 12[9]

Lake Placid
 United States
North America
—
W003III
1932
000000002018-02-04-0000February 4
000000002018-02-15-0000February 15[10]

Los Angeles
 United States
North America
S010X
—
000000002018-07-30-0000July 30
000000002018-08-14-0000August 14[11]

Garmisch-Partenkirchen
 Nazi Germany
Europe
—
W004IV
1936
000000002018-02-06-0000February 6
000000002018-02-16-0000February 16[12]

Berlin
 Nazi Germany
Europe
S011XI
—
000000002018-08-01-0000August 1
000000002018-08-16-0000August 16[13]

Sapporo
Garmisch-Partenkirchen[e]
 Empire of Japan
 Nazi Germany
Asia
Europe
—
W005aV
1940
Cancelled due to WWII[4]

Tokyo
Helsinki[f]
 Empire of Japan
 Finland
Asia
Europe
S012XII
—

Cortina d'Ampezzo
 Italy
Europe
—
W005bV
1944

London
 United Kingdom
Europe
S013XIII
—

St. Moritz
  Switzerland
Europe
—
W005cV
1948
000000002018-01-30-0000January 30
000000002018-02-08-0000February 8

London
 United Kingdom
Europe
S014XIV
—
000000002018-07-29-0000July 29
000000002018-08-14-0000August 14

Oslo
 Norway
Europe
—
W006VI
1952
000000002018-02-14-0000February 14
000000002018-02-25-0000February 25

Helsinki
 Finland
Europe
S015XV
—
000000002018-07-19-0000July 19
000000002018-08-03-0000August 3

Cortina d'Ampezzo
 Italy
Europe
—
W007VII
1956
000000002018-01-26-0000January 26
000000002018-02-05-0000February 5

Melbourne
Stockholm[g]
 Australia
 Sweden
Oceania
Europe
S016XVI
—
000000002018-11-22-0000November 22
000000002018-06-10-0000June 10
000000002018-12-08-0000December 8
000000002018-06-17-0000June 17

Squaw Valley
 United States
North America
—
W008VIII
1960
000000002018-02-18-0000February 18
000000002018-02-28-0000February 28

Rome
 Italy
Europe
S017XVII
—
000000002018-08-25-0000August 25
000000002018-09-11-0000September 11

Innsbruck
 Austria
Europe
—
W009IX
1964
000000002018-01-29-0000January 29
000000002018-02-09-0000February 9

Tokyo
 Japan
Asia
S018XVIII
—
000000002018-10-10-0000October 10
000000002018-10-24-0000October 24

Grenoble
 France
Europe
—
W010X
1968
000000002018-02-06-0000February 6
000000002018-02-18-0000February 18

Mexico City
 Mexico
North America
S019XIX
—
000000002018-10-12-0000October 12
000000002018-10-27-0000October 27

Sapporo
 Japan
Asia
—
W011XI
1972
000000002018-02-03-0000February 3
000000002018-02-13-0000February 13

Munich
 West Germany
Europe
S020XX
—
000000002018-08-26-0000August 26
000000002018-09-11-0000September 11

Innsbruck
 Austria
Europe
—
W012XII
1976
000000002018-02-04-0000February 4
000000002018-02-15-0000February 15

Montreal
 Canada
North America
S021XXI
—
000000002018-07-17-0000July 17
000000002018-08-01-0000August 1

Lake Placid
 United States
North America
—
W013XIII
1980
000000002018-02-12-0000February 12
000000002018-02-24-0000February 24

Moscow
 Soviet Union
Europe[h]
S022XXII
—
000000002018-07-19-0000July 19
000000002018-08-03-0000August 3

Sarajevo
 Yugoslavia
Europe
—
W014XIV
1984
000000002018-02-07-0000February 7
000000002018-02-19-0000February 19

Los Angeles
 United States
North America
S023XXIII
—
000000002018-07-28-0000July 28
000000002018-08-12-0000August 12

Calgary
 Canada
North America
—
W015XV
1988
000000002018-02-13-0000February 13
000000002018-02-28-0000February 28

Seoul
 South Korea
Asia
S024XXIV
—
000000002018-09-17-0000September 17
000000002018-10-02-0000October 2

Albertville
 France
Europe
—
W016XVI
1992
000000002018-02-08-0000February 8
000000002018-02-23-0000February 23

Barcelona
 Spain
Europe
S025XXV
—
000000002018-07-25-0000July 25
000000002018-08-09-0000August 9

Lillehammer
 Norway
Europe
—
W017XVII
1994
000000002018-02-12-0000February 12
000000002018-02-27-0000February 27

Atlanta
 United States
North America
S026XXVI
—
1996
000000002018-07-19-0000July 19
000000002018-08-04-0000August 4

Nagano
 Japan
Asia
—
W018XVIII
1998
000000002018-02-07-0000February 7
000000002018-02-22-0000February 22

Sydney
 Australia
Oceania
S027XXVII
—
2000
000000002018-09-15-0000September 15
000000002018-10-01-0000October 1

Salt Lake City
 United States
North America
—
W019XIX
2002
000000002018-02-08-0000February 8
000000002018-02-24-0000February 24

Athens
 Greece
Europe
S028XXVIII
—
2004
000000002018-08-13-0000August 13
000000002018-08-29-0000August 29

Torino
 Italy
Europe
—
W020XX
2006
000000002018-02-10-0000February 10
000000002018-02-26-0000February 26

Beijing[i]
 China
Asia
S029XXIX
—
2008
000000002018-08-08-0000August 8
000000002018-08-24-0000August 24

Vancouver
 Canada
North America
—
W021XXI
2010
000000002018-02-12-0000February 12
000000002018-02-28-0000February 28

London
 United Kingdom
Europe
S030XXX
—
2012
000000002018-07-27-0000July 27
000000002018-08-12-0000August 12

Sochi
 Russia
Europe[h]
—
W022XXII
2014
000000002018-02-07-0000February 7
000000002018-02-23-0000February 23

Rio de Janeiro
 Brazil
South America
S031XXXI
—
2016
000000002018-08-05-0000August 5
000000002018-08-21-0000August 21

Pyeongchang
 South Korea
Asia
—
W023XXIII
2018
000000002018-02-09-0000February 9
000000002018-02-25-0000February 25

Tokyo
 Japan
Asia
S032XXXII
—
2020
000000002018-07-24-0000July 24
000000002018-08-09-0000August 9

Beijing
 China
Asia
—
W024XXIV
2022
000000002018-02-04-0000February 4
000000002018-02-20-0000February 20

Paris
 France
Europe
S033XXXIII
—
2024
000000002018-07-26-0000July 26
000000002018-08-11-0000August 11

TBD
TBD

—
W025XXV
2026
(TBD)

Los Angeles
 United States
North America
S034XXXIV
—
2028
000000002018-07-21-0000July 21
000000002018-08-06-0000August 6

TBD
TBD

—
W026XXVI
2030
(TBD)

text: Host cities for multiple Summer and Winter Olympic Games[edit]

text:
List of cities that hosted multiple editions of the Olympic Games

City
Country
Continent
Summer Olympics
Winter Olympics
Total

London
 United Kingdom
Europe
3 (1908, 1948, 2012)
0
3

Paris
 France
Europe
3 (1900, 1924, 2024)
0

Los Angeles
 United States
North America
3 (1932, 1984, 2028)
0

Athens
 Greece
Europe
2 (1896, 2004)
0
2

Tokyo
 Japan
Asia
2 (1964, 2020)
0

Beijing
 China
Asia
1 (2008)
1 (2022)

St. Moritz
  Switzerland
Europe
0
2 (1928, 1948)

Innsbruck
 Austria
Europe
0
2 (1964, 1976)

Lake Placid
 United States
North America
0
2 (1932, 1980)

text: The 1906 Intercalated Games are not officially recognized by the IOC as an official Olympic Games.

text: Number of Olympic Games by country[edit]

text:
List of countries ranked by the number of times they hosted the Olympic Games

Rank
Country
Continent
Summer Olympics
Winter Olympics
Total

1
 United States
North America
5 (1904, 1932, 1984, 1996, 2028)
4 (1932, 1960, 1980, 2002)
9

2
 France
Europe
3 (1900, 1924, 2024)
3 (1924, 1968, 1992)
6

3
 Japan
Asia
2 (1940, 1964, 2020)
2 (1940, 1972, 1998)
4

4
 United Kingdom
Europe
3 (1908, 1944, 1948, 2012)
0
3

 Canada
North America
1 (1976)
2 (1988, 2010)

 Italy
Europe
1 (1960)
2 (1944, 1956, 2006)

 German Empire/ Nazi Germany/ West Germany/ Germany
Europe
2 (1916, 1936, 1972)
1 (1936, 1940)

8
 China
Asia
1 (2008)
1 (2022)
2

 South Korea
Asia
1 (1988)
1 (2018)

 Soviet Union/ Russia
Europe
1 (1980)
1 (2014)

 Greece
Europe
2 (1896, 2004)
0

 Australia
Oceania
2 (1956, 2000)
0

 Norway
Europe
0
2 (1952, 1994)

 Austria
Europe
0
2 (1964, 1976)

  Switzerland
Europe
0
2 (1928, 1940, 1948)

 Sweden
Europe
2 (1912, 1956 (equestrian events only))
0

17
 Brazil
South America
1 (2016)
0
1

 Spain
Europe
1 (1992)
0

 SFR Yugoslavia/ Bosnia and Herzegovina
Europe
0
1 (1984)

 Mexico
North America
1 (1968)
0

 Finland
Europe
1 (1940, 1952)
0

 Netherlands
Europe
1 (1928)
0

 Belgium
Europe
1 (1920)
0

text: Number of Olympic Games by continent[edit]

text:
Rank
Continent
Summer Olympics
Winter Olympics
Total

1
Europe
17 (1896, 1900, 1908, 1912, 1920, 1924, 1928, 1936, 1940, 1944, 1948, 1952, 1960, 1972, 1980, 1992, 2004, 2012, 2024)
14 (1924, 1928, 1936, 1940, 1944, 1948, 1952, 1956, 1964, 1968, 1976, 1984, 1992, 1994, 2006, 2014)
31

2
North America
7 (1904, 1932, 1968, 1976, 1984, 1996, 2028)
6 (1932, 1960, 1980, 1988, 2002, 2010)
13

3
Asia
4 (1940, 1964, 1988, 2008, 2020)
4 (1940, 1972, 1998, 2018, 2022)
8

4
Oceania
2 (1956, 2000)
0
2

5
South America
1 (2016)
0
1

6
Africa
0
0
0

text: Unsuccessful cities[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2018) (Learn how and when to remove this template message)

text:
Country
City
Bids

 United States
Detroit
7

 Hungary
Budapest
6

 Turkey
Istanbul
5

 Spain
Madrid
4

 Argentina
Buenos Aires
4

  Switzerland
Lausanne
4

 United States
Philadelphia
5

 United States
Chicago
4

 United States
Minneapolis
3

 Cuba
Havana
3

 Belgium
Brussels
3

 Azerbaijan
Baku
2

 Qatar
Doha
2

 Spain
Seville
2

 Yugoslavia
Belgrade
2

 Puerto Rico
San Juan
1

 Australia
Brisbane
1

 Slovakia
Poprad
1

 United States
Boston
1

text: Notes[edit]

text:
a Originally awarded to Chicago, but moved to St. Louis to coincide with the World's Fair.[14][15]
b The 1906 Games were sanctioned and treated as an Olympic Games when held, and they were recognized as an Olympic Games by the IOC until 1949[16]
c The 1908 Games were originally given to Rome, but were moved to London when Mount Vesuvius erupted.[17]
d The sailing events in 1920 were held in Ostend, Belgium and in Amsterdam, Netherlands.
e The 1940 winter games were originally awarded to Sapporo, but were moved to Garmisch-Partenkirchen before being cancelled.
f The 1940 summer games were originally awarded to Tokyo, but were moved to Helsinki before being cancelled.
g Equestrian events were held in Stockholm, Sweden. Stockholm had to bid for the equestrian competition separately; it received its own Olympic flame and had its own formal invitations and opening and closing ceremonies, just like the regular Summer Olympics.[18]
h Russia/Soviet Union spans the continents of Europe and Asia. However, the Russian National Olympic Committee is part of the European Olympic Committees. Also, Moscow is on the European side of the most commonly recognized boundary between Europe and Asia. (Sochi is in Asia per the usual geographic boundary, being just south of the Greater Caucasus' western end; but political approximations of the continental boundary place it in Europe.)
i Equestrian events were held in China's Hong Kong SAR.[19] Although Hong Kong's separate NOC conducted the equestrian competition, it was an integral part of the Beijing Games (unlike the 1956 Stockholm equestrian competition it was not conducted under a separate Hong Kong bid, separate flame, etc.).[20]


document_title: Flexor carpi ulnaris muscle

question_text: what is the proximal attachment of the flexor carpi ulnaris in humans

text: Flexor carpi ulnaris muscle

text: Origin and insertion[edit]

text: Flexor carpi ulnaris muscle arises by two heads, humeral and ulnar, connected by a tendinous arch beneath which the ulnar nerve and artery pass.

text:
The humeral head arises from the medial epicondyle of the humerus by the common flexor tendon.
The ulnar head arises from the medial margin of the olecranon of the ulna and from the upper two-thirds of the dorsal border of the ulna by an aponeurosis.

text: Its insertion is into the pisiform bone, into the hamate bone via the pisohamate ligament and into the fifth metacarpal bone via the pisometacarpal ligament.

text: The muscle acts to flex and adduct the wrist joint.

text: Innervation[edit]

text: The flexor carpi ulnaris muscle is innervated by the ulnar nerve which has its roots in the C8 and T1 spinal nerves.

text: Tendon[edit]

text: The tendon of flexor carpi ulnaris can be seen on the anterior of the distal forearm. On a person's distal forearm, right before the wrist, there will be either two or three tendons. The tendon of the flexor carpi ulnaris is the most medial (closest to the little finger) of these. The most lateral one is the tendon of flexor carpi radialis muscle, and the middle one, not always present, is the tendon of palmaris longus.

text: Exercises[edit]

text: The muscle, like all flexors of the forearm, can be strengthened by exercises that resist its flexion. A wrist roller can be used and wrist curls with dumbbells can also be performed. These exercises are used to prevent injury to the ulnar collateral ligament of elbow joint.

text: Disease[edit]

text: Ulnar entrapment by the aponeurosis of the two heads of the flexor carpi ulnaris (FCU) muscle may cause cubital tunnel syndrome.

text: Additional images[edit]

text:
Bones of left forearm. Posterior aspect.

Bones of the left hand. Volar surface showing its insertion into the pisiform bone and then via ligaments into the hamate bone and 5th metacarpal bone, acting to flex and adduct the wrist joint.

Cross-section through the middle of the forearm.

Flexor carpi ulnaris muscle


document_title: S phase

question_text: why is the synthesis stage (s phase) called synthesis

question_tokens: why is the synthesis stage ( s phase ) called synthesis

text: S phase

text: Regulation[edit]

text: The G1/S transition is a major checkpoint in the regulation of the cell cycle. To produce two similar daughter cells, the centrosome and complete DNA instructions in the cell must be duplicated.[1] DNA replication occurs during this S (synthesis) phase. Depending on levels of nutrients, energy and external factors, cells must decide to enter the cell cycle or move into a non-dividing state known as G0 phase. This transition, as with all of the major checkpoint transitions in the cell cycle, is signaled by cyclins and cyclin dependent kinase (CDKs). The pulse of G1/S cyclins causes CLN3-Cdk1 to activate Cln1/2 (start point), as well as Clb5/6 at the initiation of S-phase. This pathway contains 2 positive feedback loops, allowing for rapid, unidirectional movement into S-phase. Redundant pathways like this are not uncommon because they allow for tuning the output of the system and often lead to faster genetic evolution.[2]

text: DNA replication[edit]

text: The major event in S-phase is DNA replication. The goal of this process is to create exactly two identical semi-conserved chromosomes. The cell prevents more than one replication from occurring by loading pre-replication complexes onto the DNA at replication origins during G1 phase which are dismantled in S-phase as replication begins. In synthesis, the enzyme helicase unwinds the DNA double helix, and the enzyme DNA polymerase re-binds free-floating nucleotides to the separate DNA single strands in accordance with the complementary base pairing rule. DNA synthesis can occur as fast as 2000 nucleotides/second [3] and must create fewer than 2 errors (I.e., wrong bases) in 1010 nucleotide additions.[citation needed]

text: DNA damage[edit]

text: Damage to DNA is detected and fixed during S-phase. When the replication fork comes upon damaged DNA, ATR, a protein kinase is activated. This kinase initiates several complex downstream pathways, which causes a halt in the initiation of new replication origins, prevention of mitosis and replication fork stabilization in order to keep the replication bubble open and DNA polymerase complex attached while the damage is being fixed.[4]


document_title: Nishiyama Onsen Keiunkan

question_text: hot springs hotel in japan that's run since 705 a.d

question_tokens: hot springs hotel in japan that 's run since 705 a.d

text: Nishiyama Onsen Keiunkan

text:
Nishiyama Onsen Keiunkan
西山温泉慶雲館
Nishiyama Onsen KeiunkanLocation within Japan
Wikimedia | © OpenStreetMapGeneral informationStatus
OperationalArchitectural style
Japanese architectureLocation
Hayakawa, Yamanashi PrefectureCountry
JapanCoordinates
35°33′15.9″N 138°18′21.7″E / 35.554417°N 138.306028°E / 35.554417; 138.306028Opened
705 ADRenovated
1997Known for
Oldest hotel in the worldOther informationNumber of rooms
35Website
www.keiunkan.co.jp

text: Nishiyama Onsen Keiunkan (西山温泉慶雲館)[1] is a hot spring hotel in Hayakawa, Yamanashi Prefecture, Japan. Founded in 705, it is the oldest hotel and one of the oldest companies in operation. In 2011, the hotel was officially recognised by the Guinness World Records as the oldest hotel in the world.[2] It has been continuously operated by 52 generations of the same family (including adopted heirs) for over 1,300 years.[3]

text: The Keiunkan lies at the foot of the Akaishi Mountains. Since its foundation the hotel has had all its hot water sourced directly from the local Hakuho Springs. The hotel was last renovated in 1997 and has 37 rooms.[4]